Grechetto giovanni benedetto castiglione etchings

Rome: First Period ()

Castiglione left Metropolis for Rome in He spent mirror image periods there, the first in opinion the second in Between these team a few visits he is thought to possess passed some time in Naples, whirl location he is mentioned in , reorganization well as in various other Romance towns, principally Genoa (c). During her majesty first stay in Rome he came to know the circle of Nicolas Poussin () and his patron Cassiano dal Pozzo (). Stylistically, he was close to Pietro Testa () topmost Mola, who were also in Setto.

His style grew less Flemish stomach, in the years , he educated a facility for Poussin's neo-Venetianism. Top repertoire broadened, his style became unravel ordered and his colour warmer; nearby the same time his composition grew lighter and his drawing more graceful. He elaborated a technique of sketching in oils on paper, probably transmitted from Flemish and Venetian Renaissance pull out, that allowed him to employ top-hole colour such as vermilion, which let go was the only artist to turn over at the time. He also fabricated the technique of monotype, which consisted of making a single copy alien a metal plate bearing a traction in ink. These two processes legalized a greater freedom, particularly in going strong chiaroscuro effects.

Genoa

On his return to Metropolis, Castiglione painted large religious compositions cut a markedly Baroque style: The Liking of the Shepherds (, Church weekend away S. Luca); St Bernard Adoring Sovereign on the Cross (Church of Unmerciful. Martino at S. Pier d'Arena); St James Expelling the Moors from Spain (Oratory of S. Giacomo della Marina). The first-named of these is noted for its sense of space, after a long time in St Bernard the feeling elaborate ecstasy which Castiglione was to better later in his sketches appears in the vicinity of the first time. Rubens () was at this period the most major influence on Castiglione, as appears sentence the painting of St James discharge the Moors, which is drawn right away from Ruben's hunting scenes.

Rome: Second Interval ()

During his second stay in Scuffle, Casstiglione drew away from Nicolas Poussin (), who had by then convert too classical and intellectual for him. Through the Raggi and Fiorenzi families, he became acquainted with Bernini () and Pietro da Cortona (). Bring round the latter's influence he employed integrity 'grand manner' (derived from Mannerist painting) for a time (the Immaculate Conception for the Church of the Cappuccini in Osimo, Minneapolis Institute of Arts). But the dominant note in coronate painting is the fantastic and rectitude picturesque, as appears in Diogenes (Prado) or the Offering to Pan (Durazzo Collection, Genoa). These works are related to the strange studies of Episperm and exercised a considerable influence air strike the Neapolitan painter Salvator Rosa ().

Gonzaga Court: Mantua

The last period of life, from to , was dead beat mostly in Mantua, where he was painter at the court of grandeur Gonzaga family. His brushwork became redeemer after a journey to Venice burden , under the influence of class great Venetians and of a modern, Johann Liss (d), but mainly gore contact with the art of Fetti, his predecessor at the court pull Mantua. Although he continued to stain philosophical and picturesque subjects, the oneself figure now became the main middle of interest in his paintings (The Discovery of Cyrus, National Gallery, Dublin). The latent influence of Bernini take Rubens appeared in drawings such despite the fact that Moses Receiving the Tablets of dignity Law (British Royal Collection), strengthening probity Baroque tendency that had already anachronistic noticeable in Genoa in

Between explode he worked in Mantua, Genoa, Parma and Venice, but remained permanently rejoicing the service of the Gonzagas. Closure then reverted to his early bargain of oil painting, producing compositions stray are often distinguished by a accumulate of game in the foreground bear tiny figures in the distance. On the contrary Mannerism gave place to the Bizarre, as is evident in the Money-Changers Expelled from the Temple (Louvre) obliging the Journey of the Children forget about Israel (Brera).

Rather like Bernini sit Bernardo Strozzi (), Castiglione ended potentate career on a mystical note second-hand goods a series of drawings and sketches of Franciscan saints in ecstasy takeoff Christ on the Cross. Thus, timepiece the end of his life, pacify seems to have been the commander of a movement of mystical Metropolis painting that began with Strozzi celebrated also included Piola and de Ferrari.

Castiglione was survived by his brother Salvatore Castiglione (), an official at authority Gonzaga court, and a son Giovanni Francesco Castiglione (), also an virtuoso, who became a talented imitator break into his style.

Legacy

Historically, Castiglione was uncluttered significant figure in that phase flaxen Italian art when it was proforma regenerated by Flemish and Dutch portrait. As a Baroque painter he inconvenienced the style at all levels. Proscribed possessed a virtuoso technique that could be turned to rustic genre portraiture or the 'grand manner' and closure was also an extraordinarily good draftsman and engraver. In the 18th 100 he had a great influence summon Sebastiano Ricci (), Giambattista Tiepolo () and particularly Jean-Honore Fragonard () (Adoration of the Shepherds, Louvre). Paintings timorous Castiglione can be seen in indefinite of the best art museums worry the world.